635 



PRICE 26 CENTS 




THE PENN PUBLISHING COMPAI^JY 



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Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubus. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker, Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields, Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont, For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel, 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal, A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girL 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Vegetable Brownies 
On a Frolic 

An Extravaganza in One Act 



By 
AGNES HYDE 




PHILADELPHIA 

THE PENN PUBLISHING COMPANY 

1922 



^^V' 

.1''^ 



Copyright 1922 by The Penn Publishing Compawy 



CID 63257 



The Vcijetable Brownies on a Frolic 



m -.. ij23 



The Vegetable Brownies On a Frolic 



CHARACTERS 



Cabbage-head. Turnip. 

Onion. Carrot. 

Cucumber. Beet. 

Watermelon. Potato. 

Pumpkin. Man in the Moon. 

Time of Playing — About thirty minutes. 



DTRECTIONS 



Prepare a curtain of cambric or any suitable mate- 
rial. Let it be blue to represent the atmosphere. The 
size of the curtain must be determined by the size of 
the stage. The vegetables are painted on paper and 
then cut out. Any one with a Uttle skill with crayons 
or the paint brush can make a fairly good likeness of 
these common vegetables. They can be molded from 
crepe paper if found easier to those managing the en- 
tertainment. The vegetables should be of exagger- 
ated size. Some sense of proportion must be main- 
tained, however. Brownie legs and feet are fastened 
to each of the vegetables ; also arms. They should be 
fastened so that some look as if dancing, some running 
and some with toes turned in. The man in the moon 
has no legs or arms. He is represented by a full moon 
made of silver paper. A hole is cut large enough for 
the face of the performer. He wears a white mask 
tinted with silver. A white skull-cap is worn over the 

3 



4 DIRECTIONS 

hair. The vegetables are fastened to the curtain at 
varying heights. Sometimes the different heights of 
the performers will make enough variety. If desired, 
a stone wall can be painted on the curtain and the 
vegetables arranged as if sitting or standing upon it. 
The moon is fastened to the curtain as high above the 
vegetables as is practicable and a little to the right. 
Stars are cut from silver paper and pasted over the top 
of curtain to represent the sky. A hole is cut over 
each vegetable for the face of the performer. It 
should be large enough to let the face come well 
through the curtain that the voice may not be smoth- 
ered. The watermelon's face, legs and arms should 
be black. Brown is the best color for the Hmbs of the 
vegetables. Cardboard is used to make them. The 
potato should use the Irish dialect and the watermelon 
the Darky. The performers stand behind the curtain 
and only their heads show. It therefore appears to 
the audience as if the vegetables had human heads. If 
there is no stage curtain an extra curtain should be 
hung in front of vegetables to be drawn aside when 
entertainment begins. Be careful that there is enough 
space between the two curtains to prevent disarrange- 
ment of vegetables when outer curtain is drawn. The 
melodies can be found in any college song-book or col- 
lection of old-time songs. Try to have bass, tenor, 
soprano and alto voices. 



MUSIC 

The melodies used in this extravaganza are : ** Buy 
a Broom," '* Bring Back My Bonnie to Me," " Cleni- 
entine," ''Annie Laurie," " The Quilting Party," 
" Juanita," " Drink to Me Only With Thine Eyes," 
" Dear Evehne, Sweet Eveline," "Auld Lang Syne." 

The songs for which each melody is used is indi- 
cated in the text. 

These melodies can all be found in College Songs, 
New and Enlarged Edition, published by Oliver-Dit- 
son Company. The only melody not found there is 
" Buy a Broom." This is famiUar to almost every- 
body, but as it may not be readily found, I submit a 
copy of the soprano part. 



BUT k BBOOtf. 




The Vegetable Brownies 
On a Frolic 



Cabbage-head (sing-song). 

Vegetable Brownies all are we. 

All the Vegetables together. 
We. 

Cabbage-head. 

The garden ground has shook us. 

All. 

Has shook us. 

Cabbage. 

And now we lift our eyes to thee, 

All. 

Thee. 

Cabbage. 

And beg you not to cook us. 

All ( beseechingly). 
Not to cook us. 

Cabbage. 

Of course we know we are very nice, 

All. 

Nice. 

Cabbage. 

When served up for the dinner, 



8 THE VEGETABLE BROWNIES ON A FROLIC 

All (loudly). 
The dinner. 

Cabbage. 

And when in soup we are cut in dice, 

All. 

Dice. 

Cabbage. 

We are fit for any sinner, 

All. 

Any sinner. 

Cabbage. 

But e'er you cook us, you must catch us, 

All {quickly). 
Catch us ! 

Cabbage. 

And that you'll never do, 

All (slowly). 
Never do. 

Cabbage. 

You couldn't hook us, no, nor snatch us! 

All (quickly). 
Snatch us ! 

Cabbage. 
^ As we would prove to you. 

All (slowly). 
Prove to you. 

Cabbage. 

You see we are different from the rest, 

All. 

Rest. 



the vegetable brownies on a frolic 9 

Cabbage. 

For we have legs to run, 

All (quickly). 
Legs to run. 

Cabbage. 

And if you tried our speed to test, 

All. 

Test. 

Cabbage. 

I guess there'd be some fun. 

All. 

Be some fun. 

Cabbage. 

And now if you'll observe us well, 

All. 

Well. 

Cabbage. 

You'll see both short and long, 

All. 

Short and long. 

Cabbag: 

And what we are we each will tell. 

All. 

Tell. 

Cabbage. 

In our own verse and song, 

All. 

Verse and song. 

Cabbage (sings, tune '^ Buy a Broom**). 

I am a cabbage-head, a cabbage-head, a cabbage- 
head, 
Oh, I am a cabbage-head, as everybody knows. 



10 THE VEGETABLE BROWNIES ON A FROLIC 

All (sing in chorus). 

Tis this way, and that way, and this way, and 

that way, 
And she is a cabbage-head, as everybody knows. 

Beet (sings). 

I am a Httle beet, a Httle beet, a Httle beet, 
Oh, I am a httle beet, as red as a rose. 

All (chorus). 

Tis this way, and that way, and this way, and 

that way, 
And she is a httle beet, as red as a rose. 

Pumpkin (sings). 

I am a pumpkin, a pumpkin, a pumpkin, 
Oh^ I am a pumpkin that makes dandy pies. 

All (chorus). 

Tis this way, and that way, and this way, and 

that way, 
And she is a pumpkin, that makes dandy pies. 

Potato (sings). 

And I am a murphy, a murphy, a murphy, 
Oh, I am a murphy, that's good boiled or fried. 

All (chorus). 

Tis this way, and that way, and this way, and 

that way, 
Oh, she is a murphy that's good boiled or fried. 

Cucumber (sings, tune ''My Bonnie Lies Over the 
Ocean "). 
I am a cucumber dainty, I am a cucumber green, 
And you all know that cucumber pickles, 
Are the very best pickles e*er seen. 

All (chorus). 

Pickles, pickles, cucumber pickles for me, for me, 
Pickles, pickles, cucumber pickles for me. 

(Make face as if eating sour pickle.) 



THE VEGETABLE BROWNIES ON A FROLIC II 

Watermelon {tune ''Clementine"). 
In a garden on a hillside, 
'Neath the summer rain and heat, 
On a vine w^ith tendrils twining, 
Grew a watermelon sweet. 

All (chorus). 

Oh dat melon, oh dat melon, oh dat melon rich 

and sweet, 
In dat garden on the hillside, 
It was good enough to eat. 

(Make noise as if drawing in juice of melon.) 

Man in the Moon ('' Buy a Broom "). 

And I in the moon, in the moon, in the moon, 
The Man in the Moon watches over them all. 

All (chorus). 

Tis this way, and that way, and this way, and 

that way, 
And the Man in the Moon watches over us all. 

Cabbage (spoken). 

My comrades dear, this is not all, some voices 

sure I miss. 
There are three songs have not been sung, 
Pray tell me how is this? 

Pumpkin (spoken). 

Please, Miss Cabbage, the carrot is bashful, and 
the turnip is sulky, and the onion wants to cry. 

Cabbage (spoken). 

What, our little turnip sulky ? Why, what makes 
the turnip sulky? 

All (spoken). 

Oh, we'll never tell. 

Cabbage (spoken). 

Well, if you won't tell me I'll have to ask the Man 

in the Moon. 
Oh, Moon above that brightly shines, 



12 THE VEGETABLE BROWNIES ON A FROLIC 

And sees both small and bulky, 
Oh, tell me truly if you can, 
What makes our turnip sulky? 

Man in the Moon (sings, tune "Annie Laurie"). 
As I sail in my course in the sky above, 
1 see a thing or two, 

And I know that the turnip he is in love 
With a carrot of brilUant hue. 
And he sits, and he frets, and he mopes, and he 

pouts, 
For he is so very shy, 

That he hasn't the courage to settle all doubts 
And to win her love to try. 

Cabbage (spoken). 

My dear little Turnip, this never will do, 
You never will win the day 
If you sit there in silence and mope and pout, 
You must up and have your say. 

All (together). 

Yes, Turnip, up and tell her that you've loved her 

well and long, 
And if you find it hard in prose, 
Why, turn it into song. 

Turnip (sings, tune, "The Quilting Party," "Seeing 
Nellie Home "). 
Oh, Carrot, little Carrot, 
Oh, Carrot, oh my dear, 
My love in grandpa's turnip field, 
Let me whisper in your ear. 

All (chorus). 

Oh, Carrot, little Carrot, 
Little Carrot, do you hear? 
His love in grandpa's turnip field 
He w(juld whisper in your ear. 

Carrot (sings). 

Oh, Turnip, little Turnip, 
Your love 1 do not fear; 



THE VEGETABLE BROWNIES ON A FROLIC IJ 

If mamma and pa are willing, willing, 
You can whisper in my ear. 

All (chorus). 

Oh, Turnip, little Turnip, 

Your love she will not fear, 

If her ma and pa are willing, willing, 

You can whisper in her ear. 

Cabbage (spoken). 

Now that affair is settled 
Can anybody tell 
If there's anybody else here 
With whom all is not well? 

Pumpkin (spoken). 

Please, Miss Cabbage, the onion's crying. 

Cabbage. 

What? Our dear Httle onion crying? Why, 
what is the matter? 

Pumpkin. 

Please she won't tell. 

Cabbage. 

Won't tell! Why not? 

Pumpkin. 

She says she's afraid we won't love her any more. 

Cabbage. 

Nonsense. ( To Potato. ) Murphy, do you know 
anything about this ? 

Potato. 

Dade I has me suspicions. But if she'll not tell 
ye, sure I'll not be getting meself into hot water 
telling it fur her. Fax the crater niver but 
she's crying anyhow. Why don't ye ax the 
auld gintleman in the moon? 

Cabbage. 

I suppose I'll have to. 



14 THE VEGETABLE BROWNIES ON A FROLIC 

(Sings, time, "Juanita." ) 

Moon, silver moon, 

Shining brightly up above. 

Oh, do you know 

What has grieved our love? 

Moon, silver moon, 

Wide awake when all's asleep, 

Oh do you know what doth make her weep? 

All {chorus). 

Moon, silver moon, 

Wide awake when all's asleep. 

Moon, silver moon. 

What doth make her weep? 

{Repeat cJiorus softly.) 

Cabbage (spoken). 

Oh, moon above, that's wide awake 
When all the world is sleeping. 
Oh, do you know what tale of woe 
Has set our onion weeping? 

Man in the Moon (sings, time "Drink to Me Only 

With Thine Eyes''). 
Away up here, where all is clear, 
I make my observations. 
And without fear I often hear 
All sorts of conversations. 
And so last night, when all was bright, 
And e'en the trees seemed soulful, 
W^ithin a vale, I heard the tale, 
That makes our onion doleful. 
(Spoken.) 
The fact is she has just heard of a poor little 

maiden who lost her lover by eating onions. 

All (sadly). 

Oh, that poor little maiden! 

Cabbage. 

Come, little Onion, tell us all about it and then 
you will feel better. 



the vegetable brownies on a frolic ij 

All. 

Yes, and remember that we will always love you 
just the same. 

Onion (sings, tune, '' Sweet Eveline"). 

Once in a cottage a little maiden dwelt 

Who for the fragrant onion 

A deep fondness felt. 

She ate them for breakfast, 

She ate them for tea, 

And she'd walk half a mile 

An onion to see. 

All (chorus). 

Oh, little Onion, dear little Onion, 
Our love for you will never, never die, 
Oh, little Onion, dear little Onion, 
Our love for you will never, never die. 

Onion. 

Now this little maiden, 

She had a little beau. 

And when he asked her for a kiss 

She answered him no. 

For she knew that an onion 

He never could endure, 

And if he knew she ate them, 

He would shake her sure. 

All (chorus). 

Oh, little Onion, etc. 

Onion. 

One night he fondly asked her 
If she would be his bride. 
And with his strong arm 
He drew her to his side. 
The little maid blushed, 
But she trembled in her boots, 
For she had ate for tea 
Some crisp onion shoots. 



l6 THE VEGETABLE BROWNIES ON A FROLIC 

All (chorus). 

Oh, little Onion, etc. 

Onion. 

Alas, he did detect 
Their fragrance on her breath, 
And that poor little maiden 
Was of his love bereft. 
Now she mourns forsaken, 
But she finds comfort still 
In eating raw onions 
With vinegar her fill. 

All (chorus). 

Oh, little Onion, etc. (Repeat chorus softly.) 

All (sadly). 

Oh, how very sad. 

Cabbage. 

Yes, it is indeed very sad. Let us change the 
subject. I will ask a conundrum. Where are 
the most of us likely to meet again? 

Beet. 

Give it up. 

Pumpkin. 

Give it up. 

Cucumber. 

I give it up. 

Watermelon. 
I gibs um up. 

Potato. 

I'll be after giving it up. 

Turnip. 

Give it up. 

Carrot. 

I will give it up. 



THE VEGETABLE BROWNIES ON A FROLIC 17 

Onion (sobbing), 
I give it up. 

Cabbage. 

Well, well, well, everybody gives it up. Perhaps 
the Man in the Moon can tell us. Man in the 
Moon, can you tell us where the most of us are 
likely to meet again? 

Man in the Moon. 

Oh, I know. That's easy. In a boiled dinner. 

Cabbage. 

That's right. 

All (sing, time, "Auld Lang Syne"). 

That old boiled dinner I'll ne'er forget, 
That dinner of olden time. 
Within our dreams we taste it yet 
That dinner of Auld Lang Syne. 

Cabbage and turnip, onion, beet, 
Carrot, and murphy hnc, 
All boiled together and served up hot, 
In that dinner of Auld Lang Syne. 

(Repeat last four lines softly except the word " hot" ; 
this should be very loud.) 



CURTAIN 



Unusually Good Entertainment 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 

iertainraent in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
.author of the popular successes, "Graduation Day at Wood Hilrt 
'school," "Back to the Country Store," etc. The villagers have* 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs,: 
^iconundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played Vv'ithout scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, tvvo females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A JeWf a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty orj 
more. Time, forty minutes. The play requires neither scenery j 
nor properties, and very little in the way of costumes. Can; 
^easily be prepared in one or two rehearsals. 
1 BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. 

THF ^^ENN PUBLISHING COMPANY 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes ft 
may be presented in a hall without scenery. The unusual conw 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight maU 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures th* convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entert.iin' 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
^O almost any place or occasion. 

THE PENN PUBLISHING COMPANY 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician^ 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter, 
tainment, by Amelia Sanford. For seven female chat- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position," 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend 
Maude sees Mabel has a secret, she coaxes and Mabel tells her 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duti^ 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, fumisb 
an evening of rare enjoyment. 

THE PENN PUBUSHJNG COMPANY 

PHILADELPHIA 



The Power of Expressiott 

Expression and efficiency go hand in handc 

The power of clear and forceful expression brings confi- 
dence and poise at all times — in private gatherings, in public 
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It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought^ we learn to command 
thought itself, and thought is power. You can have that 
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Whoever has the power of clear expression is always surf 
of himself. 

The power of expression leads to: 

The ability to think "on your feet** 

Successful public speaking 

Effective recitals 

The mastery over other minds 

Social prominence 

Business success 

Efficiency in any undertaking 

Are these things worth while? 

They are all successfully taught at The National School o* 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women 

A catalogue giving full information as to how any ot these 
iccomplishments may be attained will be sent free on request 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

4012 Chestnut Street Philadelphia 




